Viewings and Rewatches: February 3rd-9th, 2013


New-to-Me Viewings:

Endless Night

#19. Endless Night (1972, Gilliat): C

Largely sluggish but with a great twist at the end, and some nice touches on the dialogue. Also a whackadoo 70’s house and George Sanders in one of his last roles (he committed suicide before the film’s release). Memorable Bernard Herrmann score. I wish Britt Ekland’s character and purpose had felt formed instead of wobbly. It did actually leave me wanting to read Agatha Christie’s novel and to see the other two Mills/Bennett collaborations.

Code Unknown

#20. Code Unknown (2000, Haneke): A-
Speaks about racial tension, communication, avoidance and how we deal with violence in ways that circumvent the cliches of the hyperlink film by maintaining an elusive quality. Each segment, almost always in one take either stagnant or tracking, could stand on its own and is in some ways meant to based on the cut to black that separates them. But bring them all together to consider them as a whole, and Haneke gives you a lot to think about and mull over.

peggysue-reunion

#21. Peggy Sue Got Married (1986, Coppola): B-
Individual Write-up:
https://cinenthusiast.wordpress.com/2013/02/09/review-peggy-sue-got-married-1986-coppola/

Rewatches:

Maltese Falcon

#4. The Maltese Falcon (1941, Huston)
First Seen in: 2005

I’m picky with my film noir. Sure, I like a lot of them but love comparatively few. This is definitely one of my favorites. With Sam Spade at its center, corrupt characters move in and out of his way at breakneck speed with snappy repartee abound. It says something that Spade, who cannot at any cost be bested, giving nobody the benefit of the doubt, still manages to lose the upper hand several times along the way. He has a total absence of grief over partner’s death. No angel himself, he is surrounded by amorality, but oh what forms they come in. Peter Lorre and Sydney Greenstreet; iconic characters. Lorre with his phallic cane and gardenia smelling cards and Greenstreet, a hulking mass in front of Huston’s low-angle shots, his form engulfing the frame. No noir tropes yet formed for the screen  allows for Mary Astor’s atypical femme fatale casting which works though her deception is nowhere near as colorfully mounted as her male counterparts. Love Spade and his secretary Effie. Legitimately exciting when all major players converge at the end though it says something that Astor has like zero dialogue during this scene. Love the shadow of the bars almost making a falcon stamp across Astor’s face as the elevator gate shuts. I’m not sure I buy Spade’s confession at the end. I always forget that this was John Huston’s first film. Insanity.

Notorious

#5. Notorious (1946, Hitchcock)
First Seen in: my guess would be 2003

When I first saw this as a teenager I was underwhelmed. Suffice it to say I was an idiot. Hitchcock’s most romantic film with his most nuanced romantic pairing at its center. This is really about a layered love triangle under the guise of a spy thriller and the Macguffin of a wine bottle full of uranium. There’s a simple narrative throughline which everything is built off of and it shifts from section to section with ease. Grant’s Devlin is cold, afraid of his own feelings (and of women, but he’ll get over it) favoring an easier unresponsive state. Bergman’s Alicia is trapped by her father’s past and her own past, always being watched, she is both looked down upon as ‘that sort of woman’ yet is needed for being exactly that. Bring the two together and we see the evolution of a romance provoked by Grant’s passivity and Bergman’s actions in reaction to his passivity.

And those are only the basics of what these two have between each other. Bring in Claude Rains as Alex, a sympathetic villain who wears his foolish heart on his sleeve, the opposite of Devlin, and there’s a riveting triangle at play. The luminous close-up is front and center. The drinking motif, the act of watching and being watched, of playacting, etc. I love Bergman’s Alicia; my favorite performance from her I believe. I had gotten so used to seeing her as Ilsa, a character I’ve always found pretty uninteresting. There is a sophistication here in Hitchcock’s work that feels like a man working at his peak. Everything came together on this one. It’s precise and mature. Truffaut said to him “of all your pictures, this is the one in which one feels the most perfect correlation between what you are aiming at and what appears on the screen”. He’s right, and Hitchcock, who is constantly self-critical in their interviews, doesn’t have a bad thing to say about it.

Rope

#6. Rope (1948, Hitchcock)
Seen twice, both times between 5-10 years ago.

Hitchcock is a virtuoso at editing, using it to create, build and sustain suspense like no other. So by taking editing out in its entirety, you have a most interesting self-imposed challenge. Camera movement thus takes on double the importance it normally has, substituting his usual shot distance:importance ratio. He still gets to maintain that ratio; he just has to go about getting there more inventively. I think the experiment or gimmick of Rope mainly works, but it can’t help but feel like a trick being played for the sake of it. I don’t feel Hitch’s connection or devotion to the story, but more his preoccupation in wowing everyone with the technical achievement that it most certainly is. Arthur Laurents does a lot with his script, trying to do what he can, but he’s stuck with a very one-note central dynamic. Dall and Granger give broad performances that don’t quite work for me.

The mounting suspense is thrilling, especially with the way Brandon keeps pushing the situation, daring others to suspect and generally overplaying his hand. It’s the central party that has me glued to the screen. Loving Joan Chandler’s dress in this by the way. Everyone has their part to play and I love the loaded double meaning dialogue. The camera is like a guest itself, wandering around, snooping in on conflicts, discussions, heated conversations, etc. I lose track of time during this second act, that’s how caught up in it I am. Jimmy Stewart’s face (a miscasting that works only because Stewart is always great) as he slowly begins to suspect. His observational moments are a highlight as is his interrogation of Philip as he plays Mouvement Perpétuel No. 1 more and more nervously. The scene where the camera lingers on the chest as Mrs. Wilson disrobes the coffin of its dining room status. The alternating between the green and red lights at the end has a claustrophobic, walls-closing-in effect. And that silent final image is exactly like the end of a stage play; you can practically feel the curtain go down. Definitely some issues that keep this from top-tier status, but still fabulous.

Marathon Man

#7. Marathon Man (1976, Schlesinger)
First Seen in: 2008

Marathon Man has me in its grip from start to finish. Uses the audience’s lack of information in the first half as a constant source of paranoia, using that old rule that prolonging the knowledge of what’s important by nature makes everything important. The first half features some careful character and mood based table setting. I love how it’s just a bunch of disparate elements floating about, slowly being brought together by the plot. Uses running and the accompanying endurance of pain to connect Babe’s journey, from legs to teeth. It also fuses the past via the Holocaust’s infinite trauma and its imprint on New York City and couples it with various crises, tensions and crime rates in the then-present climate. The scene where Szell is recognized on the street surpasses its superficial purpose of creating tension and feels disturbingly weighty. The second film to use the Steadicam for all of the running scenes. And speaking of Olivier, his monstrous Szell reminds me of Geri the Cleaner from Toy Story 2. Am I right or am I right? The plot feels a little flimsy by the end (The Division feels far too abstract), which is mostly overcome by not having plot be its main concern in the first place. Creepy high frequency score by Michael Small as well as alternately gritty and grand photography by the great Conrad Hall.

Rosemary's Baby

#8. Rosemary’s Baby (1968, Polanski)
First Seen in: 2003 or 2004

Individual write-up:
https://cinenthusiast.wordpress.com/2013/02/09/reintroduction-2-rosemarys-baby-1968-polanski/

The Asphalt Jungle

#9. The Asphalt Jungle (1950, Huston)
First Seen in: 2005

When I rewatched The Maltese Falcon, I mentioned I’m picky with my noirs. Well here we have another one, more specifically another one directed by John Huston, that I consider among my favorites of the genre. It’s a crossbreed between an A & B picture. Rising above the pack primarily because it knows that the broad motivation of money is not enough to sustain interest or longevity. This is character-based, spending all of its time first, individualizing all participants motivation, weaknesses and general character. Secondly, it examines the individuals within the collective through themes of loyalty, teamwork and male bonding. I’ve watched this twice tonight, the second time with commentary and what struck me the second time was how successful the dialogue is at subtle foreshadowing and repetition. Sam Jaffe always intrigues me like few other actors employed in the Hollywood studio system. And Louis Calhern is stupendous, sympathetic in spite of his deeds. And Gus! So good. Sterling Hayden has always eluded me. I can’t dig into that one-note of musky ruggedness and it has always hindered me from feeling much towards him. His character’s loyalty to Jaffe won me over though.

Poor Jean Hagen. It’s pretty clear that Hayden doesn’t feel much one way or the other but she is needy like a wounded puppy. In Huston’s world there is little room for women. They exist on the outskirts; resigned, clinging, invalid or in the case of Marilyn Monroe a wide-eyed sex kitten who likes scandalous green bathing suits and trips to Cuba. Favorite scenes include Jaffe in the diner, Calhern and his wife playing cards, Calhern’s final moments, Jean Hagen and her malfunctioning fluttering eyelash and that magnificently ironic and tragic end. Dense, multiplaned low-key ‘noir’ photography gives plenty to take in. Who can forget the quote “After all, crime is just a left-handed form of human endeavor”

2013 Book Challenge:
#7. The Little Friend – Donna Tartt: 9/10

List: Top 30 Favorite Films of 2012 (#15-1)


Here you go! My top 15 films of 2012. I hope everyone has enjoyed my year-in-review in list form.
Part One (#30-16): https://cinenthusiast.wordpress.com/2013/01/26/list-top-30-favorite-films-of-the-year-30-16/
Top 25 Performances and Top 10 Song Usages: https://cinenthusiast.wordpress.com/2013/01/24/lists-top-25-performances-and-top-10-song-usages-from-2012-film/
The Top Fives in 2012 Film: https://cinenthusiast.wordpress.com/2013/01/22/the-top-fives-of-2012-film/
What I’ll Remember About The Films of 2012: A Personal Sampling: https://cinenthusiast.wordpress.com/2013/01/18/what-ill-remember-about-the-films-of-2012-a-personal-sampling/
The 10 Worst Films I Saw: https://cinenthusiast.wordpress.com/2013/01/13/the-ten-worst-films-i-saw-in-2012/
10 of the Worst Film Posters: https://cinenthusiast.wordpress.com/2013/01/10/list-10-of-the-worst-film-posters-of-2012/
Top 20 Film Posters: https://cinenthusiast.wordpress.com/2012/12/05/list-top-20-film-posters-of-2012/

This is Not a Film15. This is Not a Film (Iran, Panahi)

“The immediate affinity that we feel for Panahi somehow heightens this already heartbreaking human rights issue. He comes off as kind, mild, realistic and emotionally beaten down by his circumstances (though this work’s existence proves him as anything but). We immediately care for him, beyond the empathy inherent in the situation. To say this film should be seen is an understatement; it must be seen. This statement has been made many times in relation to this film but I make it again; if you care about cinema, about the right we have to tell stories and why we tell them, and about human rights, you must seek out This Is Not a Film.”

Full Review: https://cinenthusiast.wordpress.com/2012/05/13/review-this-is-not-a-film-2012-panahi-mirtahmasb/

Rust and Bone

14. Rust and Bone (France, Audiard)

Can’t get enough Jacques Audiard. Another triumph from him which sees the French director known for combining auteur arthouse with genre backbone challenge himself with a ludicrous sounding plot. What would have been sentimental puddy in other hands becomes a raw and erotic character-driven story about the cold hard fact of physicality in all its damaging scarred forms.

THE SECRET WORLD OF ARRIETTY

13. The Secret World of Arrietty (Japan, Yonebayashi)

This is one of the Studio Ghibli films that falls into the category of relaxed. So many kids films today are bursting with structured story; places to go, people to see, villains to defeat and conflicts to be resolved. There is something about Ghibli films that, even when those plot elements are front and center, hardly ever seems in a hurry. We get a chance to take in the sights, sounds and characters; to breathe in their world for a little while. Most considered this to be minor Ghibli (based on its under-the-radar resonance), but its tranquility, reliably minute attention to everyday objects and the conflicting attitudes of its two young protagonists left me full of warmth and gratitude.

perks

12. The Perks of Being a Wallflower (USA, Chbosky)

High school movies pretty much suck now. Let’s face it. I read ‘Perks’ several years ago and liked it enough despite wishing I had read it as an adolescent. Stephen Chobsky’s adaptation of his own novel threw me for a loop with its depiction of teenage angst with an honest light-shedding evocation. Logan Lerman is a revelation, taking a character that could have been portrayed as a typical shy kid and making his anxiety both palpable and justifiably crippling. Ezra Miller, in a complete 180 from his character in last year’s We Need to Talk About Kevin, continues to display his near-freakish amount of assured talent. Using the same soundtrack listed in the novel and keeping the early 90’s setting only makes things better. By the end I was crying quite freely and was feeling a lot at once. I was moved by the lived-in group dynamic of these friends as each went their separate way. I was thinking a lot of time past and regrets of my own. Finally, I was moved by how substantial Chbosky had made his own story.

the-imposter

11. The Imposter (UK, Layton)

“In the end, we return to Frederic Bourdin, whose manipulative scheming brought us into this mess with no answers. Ending with transfixing footage of a younger Bourdin dancing, as Layton inserts Johnny Cash’s “God’s Gonna Cut You Down”, an image that visual representative of how bizarre these real-life events were. Yet it all starts with the actual disappearance of 13-year old Nicholas Barclay, a child whose unknowable fate looms over us. The Imposter is a stranger than fiction tale that will have you aghast on the edge-of-your-seat; it is truly mind-boggling to watch unfold.”

Full review: https://cinenthusiast.wordpress.com/2012/04/30/review-the-imposter-2012-layton-iffboston-2012/

Alps

10. Alps (Greece, Lanthimos)

My love affair with Giorgos Lanthimos continues. He’s offbeat and batshit nutty with his high concepts, interested in the inanity of details and ritual as an emotionless made-up structure. What happens when you break the rules, question what you’ve learned and been taught, construct your own reality? With his second feature Alps he looks at elaborate and hollow role-playing and the role grief plays in our lives. How far do simple factoids contribute to identity? What do memories mean to us? Does something as literal as meticulous reenactments ultimately mean the same thing as what remains in our heads? Lanthimos also wheels and deals in many off-kilter framing or scenes that can almost always exist as separate performance pieces that one cannot look away from. And if every film of his can please star Aggeliki Papoulia, this fan would be very grateful.

Sister Meier

9. Sister (Switzerland/France, Meier)

Earns its comparison to Dardenne Brothers, but this is entirely its own work. Ursula Meier’s second film (I’ll be sure to see her first) is a heartbreaking story dealing with an incredibly complex familial bond amidst the glacial whites of the ski resort and the murky brown-blues of the town below. Kacey Mottet Klein stuns. Between this and Farewell, My Queen, Lea Seydoux is one of my new favorite actresses.

How to Survive a Plague

8. How to Survive a Plague (USA, France)

One of the best magnanimous uses of archival footage to be seen in a documentary and an invaluably important film. ‘Plague’ recounts the long-term efforts and struggle of the ACT UP and TAG coalitions during the raging years of the AIDS epidemic. Based almost entirely around archival footage from throughout the years, a narrative unfolds that demonstrates their place in history but also functions as a blueprint of effective activism. You feel and see the desperation, frustration and looming death everywhere you look as the nation failed to take proper care or measure. Thankfully, the doc portrays the activists as human beings and not necessarily saints though they are unspeakably heroic. There were mistakes made and split factions and we get a sense of that as well. It covers many years within two hours and functions as a treasure-trove history capsule of what feels like an apocalypse for the minority that literally puts you in the center of it all.

moonrise-kingdom-05

7. Moonrise Kingdom (USA, Anderson)

“Taking on the children’s perspective also allows Anderson to indulge in the ways we expect him to. These include our titular slow-motion sequence, French New-Wavy touches, Bob Balaban’s narrator who deals in geographical factoids with a this-is-where-it-all-went-down resolve. One could go on and on and on. For example, what would a Wes Anderson movie be without something like Suzy carrying around a Francoise Hardy record in her suitcase?”

“Anderson and Coppola never confirm or deny the permanence of Sam and Suzy as a pair. They seem very likely to move onto other phases and people in their lives. It never dampens the occasion though because all that matters to the filmmakers is the ‘present’ moment and what matters to the characters within the timeframe of the film. Moonrise Kingdom is as enchanting as one of Suzy’s fantasy tales and a triumph both within the scope of Anderson’s career thus far and outside of it.”

Full Review: https://cinenthusiast.wordpress.com/2012/07/08/review-moonrise-kingdom-2012-anderson/

The Kid with a BIke

6. The Kid with a Bike (Belgium/France/Italy, Dardenne Brothers)

Speaking of the Dardenne Brothers…I saw The Kid with a Bike in theaters back in March and its depiction of parental abandonment has since embedded itself in me. It gets a Criterion Collection release in February. Young Cyril just wants answers and for things to go back to the way they were, rejecting anything that isn’t what once was. He thinks he can get both from his dad (Jeremie Renier really has a knack for playing shitty fathers) but he can’t. He is fighting for a domestic haven that no longer exists, and seemingly never existed, but he is too young to see the hopelessness of his want. In Samantha the hairdresser Cyril has someone who has taken him under his wing, but he clings to the past and searches for an older male figure no matter who it is. The Kid with a Bike is about what it might take to newly ground a young boy stuck in an underpass of denial and indignation. Is Cecile de France’s Samantha up to the task?

2011_Its_Such_a_Beautiful_Day_02

5. It’s Such a Beautiful Day (2012, Hertzfeldt)

Terrence Malick with stick figures; this is often how Don Hertzfeldt’s existential trilogy of Everything will Be OK, I Am So Proud of You and It’s Such a Beautiful Day is described. They aren’t wrong. Us fans of the innovative animator had been waiting for this final installment and he delivers a profound wrap-up to a profound trilogy. The title here refers to all three which screened together as It’s Such a Beautiful Day. I don’t even know how to go about describing Hertzfeldt’s work here except that the man is making strides in animation experimentation that most can only dream of; and all on his own to boot. That Bill is an everyman only increases the universality of it. He is getting at something that you feel in your gut. Through the beauty, use of classical music, morbid humor, deadpan yet wandering narration and jumpy structure he is getting to the heart of something (yeah I’ll use the word yet again here) profound.

osloaugust31

4. Oslo August 31st (Norway, Trier)

My top four this year are all on the same tier. I went back and forth, back and forth between what to put where and in the end, the rankings are even more arbitrary than usual.

“What makes Oslo stand apart from other ‘drug addiction’ films is that it is not about the struggle to stay clean. It is about what one is left with after the fact and questioning the point of continuing. Anders has money, friends, family, looks and talent. But when addiction comes to define and ruin, at the end of the day, what is left when a layer of disconnect invades him, his former haunts and his interactions with others? That ever-palpable ‘why bother’ and the honesty with which it ponders this question is what stood out for me most in Trier’s sophomore triumph.”

Full Review:  https://cinenthusiast.wordpress.com/2012/08/25/review-oslo-august-31st-2012-trier/

The_Master_Paul_Thomas_Anderson-70

3. The Master (USA, Anderson)

Just to warn you, in case you haven’t figured it out, the top of my list follows the pack as far as many critics and film buffs go. Remarkably more divisive than anyone ever expected, The Master works for me because of how badly I itch to dig into its opaqueness. It explicitly juggles many themes in its post-war setting but its cyclical inconclusiveness has perplexed many. That inconclusiveness seems to be a statement within itself and it roots its wandering narrative into the push-pull dichotomous relationship between Freddie Quell and Lancaster Dodd. Entirely their own characters even as they represent two opposing abstractions of a whole, these two cock their heads and wonder about the other. What can he do for me? Can I fix him? Can he fix himself? There is a lot that Paul Thomas Anderson muses with his latest and while it feels more intrinsic than deliberate, that is the very thing that lends it an endless curiosity. At any stage of his career, Anderson’s films feel like nobody else’s from every standpoint. Where else will you ever see a performance like Joaquin Phoenix’s? I cherish everyone’s contributions to this work like the lucky recipient I am. Yes indeed, blind cultish worship is my drink of choice.

Holy Motors

2. Holy Motors (France/Germany, Carax)

Giddy. Holy Motors made me giddy like a kid in an ever-varied candy store. It manages to be everything at once, mixing and melding genres for brief interludes before moving onto the next. All of this is under the guise of the science-fiction world Carax creates that sees ‘Monsieur Oscar’ (Denis Lavant) taking on different personas over the course of one day. The film hovers over reality like a hawk, zeroing in for flashes before resuming its place in the fantastical ether. Its pretext reads as a statement on the nature of cinema itself but what makes Holy Motors the wonder it is is that it filters this statement in a way that never approaches self-seriousness. It alternates between tones that are touching, bonkers, gently sad, bonkers, morbidly funny and let’s not forget bonkers. There’s a moment towards the end that is the height of hilarity and simultaneous sadness, a genuinely shocking moment the likes of which I have never seen. I cannot get Holy Motors out of my head. It is deliriously entertaining at times, providing me with the rare thrill of having no idea where I’d be taken next.

Amour

1. Amour (Austria/France/Germany, Haneke)

When I first heard Michael Haneke’s next film was called Amour I laughed out loud. Was this a joke? Haneke? Love? Surely the title is ironic. But no. The Austrian provocateur matches his clinical and icy detachment to a compassionate and uncompromising story of the slow process of disintegration and death. This is a masterpiece and it is no hyperbole that it has etched itself into the essential canon in no time at all. It feels permanent. It feels vital. Films about old age are often saccharine. This is wholly unsentimental yet filled with feeling. This is a delicate beautiful script with impeccable framing. The low-key lighting houses these two in a comforting warmth as Anne drifts away. It has two performances for the ages. Brave doesn’t begin to cover the places Emmanuelle Riva goes.

Assuming we make it to old age, we’re all headed here folks. Whether you have your loved one supporting you or not. This is what the end is like. This is about seeing the person you’ve spent your life with slipping away from you in mind and body. This is about losing all dignity and sense of self. This is about seeing yourself become a wisp. This is about losing all control. But it is also about the love and devotion that goes hand in hand with the suffering.

This was the most difficult film I watched all year. Haneke’s eye makes for a brutal but honest and earnest viewing experience. I spent the last half hour in various states of hyperventilation. No, seriously. It gave me a minor panic attack. I was having trouble breathing. At a certain point it just overwhelms because it feels so definitive.

Films Seen This Year: Haywire, The Woman in Black, Gerhard Richter Painting, The Secret World of Arietty, Found Memories, 21 Jump Street, The Hunger Games, The Raid: Redemption, It’s Such a Beautiful Day, Miss Bala, Cabin in the Woods, The Imposter, 2 Days in New York, Wuthering Heights, Paul Williams Still Alive, Damsels in Distress, The Queen of Versailles, The Avengers, Beauty is Embarrassing, This is Not a Film, The Kid with a Bike, Take This Waltz, Polisse, Prometheus, The Grey, Headhunters, Brave, Moonrise Kingdom, The Intouchables, Chronicle, Mirror Mirror, The Deep Blue Sea, Bullhead, Shut Up and Play the Hits, John Carter, The Dark Knight Rises, The Hunter, Oslo, August 31st, Bachelorette, The Moth Diaries, Bernie, Indie Game: The Movie, V/H/S, Side by Side, Kill List, Jiro Dreams of Sushi, Attenberg, Snow White and the Huntsmen, God Bless America, Once Upon a Time in Anatolia, The Master, Silent House, The Innkeepers, Dark Shadows, The Perks of Being a Wallflower, Looper, Frankenweenie, ATM, The Tall Man, Argo, The Sound of My Voice, Girl Model, Seven Psychopaths, Red Lights, Klown, The Woman in the Fifth, Beyond the Black Rainbow, Michael, Pirates! Band of Misfits, The Girl, Cloud Atlas, Elena, Monsieur Lazhar, Holy Motors, Skyfall, Silver Linings Playbook, Anna Karenina, Lincoln, Marina Abromovic: The Artist is Present, Alps, Ai Weiwei: Never Sorry, Cosmopolis, Sound of Noise, Beasts of the Southern Wild, Girl Walk//All Day, Your Sister’s Sister, The Invisible War, The Central Park Five, The Loneliest Planet, Killer Joe, Django Unchained, Les Miserables, A Royal Affair, Sleepwalk with Me, Compliance, Searching for Sugar Man, Farewell, My Queen, Sleep Tight, Barbara, The Paperboy, Dredd, Sister, Lawless, In Another Country, The Day He Arrives, Zero Dark Thirty, Rust and Bone, I Wish, Amour

List: Top 30 Fall Films to See (September-December)


We are two weeks into the Fall Movie Season; that lovely time of year when theaters are crowded with anticipated releases big and small. I have to admit that there are not a ton of films I’m dying to see these last several months of the year. My Top 30 is a strong group indeed, but this is the first year in a long time where I didn’t have about 45 films clamming for a spot on the Top 30. To put it simply, several of the bigger fall releases I’m feeling ambivalent towards. These include Flight, Promised Land, The Impossible, Les Miserables, Life of Pi, Hyde Park on Hudson and The Hobbit: An Unexpected Journey. I’m really looking forward to On the Road, Therese Raquin, Skyfall, Frankenweenie, Detropia, This is 40 and The Sessions but not enough to earn them a spot on the list.

If all of those highly anticipated films do not appear on this list, the question begs; what does? These are the 30 films I am most looking forward to. What are yours?

30. Barbara (Germany)
Synopsis: A doctor working in 1980s East Germany finds herself banished to a small country hospital.

Germany’s official submission for this year’s Oscars. I have yet to see a film directed by Christian Petzhold although I always meant to see Jerichow. I’m always going to be a sucker for films set in East Germany.

29. Lincoln
Synopsis:
As the Civil War nears its end, President Abraham Lincoln clashes with members of his cabinet over the issue of abolishing slavery.

The recently released trailer for Lincoln felt admittedly stuffy and anticlimactic. But I have faith in this film, despite the actors playing historical dress-up vibe and not caring about Spielberg’s 2011 one-two punch of War Horse and The Adventures of Tintin. But look at this cast! Look at it! Daniel Day-Lewis appears in one film every few years, so any opportunity to see him on screen must be seized immediately. Especially since his last film role was the start-to-finish miscalculation known as Nine.

28. Dredd 3D
Synopsis:
In a violent, futuristic city where the police have the authority to act as judge, jury and executioner, a cop teams with a trainee to take down a gang that deals the reality-altering drug, SLO-MO.

Out of nowhere, Dredd 3D is getting really solid notices. Like, ridiculously solid review. In a world where the film industry deals in remakes and comic book adaptations as a daily ritual, I don’t think anyone had this on their radar. For the countless middling forgettable release and anticipatory disappointments, there aren’t as many ‘where did this come from’ surprises. Alex Garland wrote the screenplay, whose credits include Never Let Me Go, Sunshine and 28 Days Later. Color me intrigued. But if the notices are to be believed, this is more than worth checking out.

Bonus: Olivia Thirlby sporting blonde hair while kicking ass and taking names.

27. Sister (France)
Synopsis: A drama set at a Swiss ski resort and centered on a boy who supports his sister by stealing from wealthy guests.

This sibling drama doesn’t seem to fit too comfortably into any easy box (outside of the aforementioned ‘sibling drama’) which is what draws me to it.  Lea Seydoux continues to stamp her presence as a French arthouse bombshell with her second release of the year after Farewell, My Queen.

26. Smashed
Synopsis: A married couple whose bond is built on a mutual love of alcohol gets their relationship put to the test when the wife decides to get sober.

I have had my eye on Mary Elizabeth Winstead for a while now. Forget Scott Pilgrim. We’re talking the days of Final Destination 3, Death Proof and Black Christmas. Yes that’s right; Black Christmas. Last year she got a starring role in the remake of The Thing, walking away with all of her dignity in a film as forgettable and rote as they come. I think what most people are excited about in regards to Smashed, is Winstead finally gets a chance to show us what she’s got. And by all accounts, it was worth the wait.

Bonus: Aaron Paul, people. Aaron Paul. Aaron Paul: that is all.

25. How to Survive a Plague
Synopsis: The story of two coalitions — ACT UP and TAG (Treatment Action Group) — whose activism and innovation turned AIDS from a death sentence into a manageable condition.

This documentary has the subject matter and the kind of upcoming exposure to really get some attention. It looks like the type of inspiring impassioned history lesson that I look for in this type of doc.

24. Killing Them Softly
Synopsis: Jackie Cogan is a professional enforcer who investigates a heist that went down during a mob-protected poker game.

I have to admit that the trailer for this left me really underwhelmed and relatively uninterested in the story. However, the pairing of director Andrew Dominik and Brad Pitt has me salivating for this. Considering that The Assassination of Jesse James by the Coward Robert Ford is in my top 10 of the 2000’s, you best believe this earned a spot.

23. Argo
Synopsis: As the Iranian revolution reaches a boiling point, a CIA ‘exfiltration’ specialist concocts a risky plan to free six Americans who have found shelter at the home of the Canadian ambassador.

Ben Affleck’s first two films managed to impress me enough without bowling me over. But it’s clear the man’s got a sure and efficient directorial hand. The cast, the based on a true story concept and 70’s period detail are all promising, not to mention its warm reception on the festival circuit.

22. Zero Dark Thirty
Synopsis: A chronicle of the decade-long hunt for al-Qaeda terrorist leader Osams Bin Laden after the 9/11 attacks, and his death at the hands of the Navy SEAL Team 6 in May, 2011.

Kathryn Bigelow’s follow-up to The Hurt Locker, chronicling the hunt and kill of Osama Bin Laden. I can’t wait to see how the film depicts its subject matter and how functionally rooted in factual reconstruction it is.

21. The Other Dream Team
Synopsis: The incredible story of the 1992 Lithuanian basketball team, whose athletes struggled under Soviet rule, became symbols of Lithuania’s independence movement, and – with help from the Grateful Dead – triumphed at the Barcelona Olympics.

Been hearing a lot about this documentary (one of only 3 on this list since the majority of documentaries come out during the Spring and Summer months). This is a truly fascinating subject, ripe for potential exploration, and it looks genuinely educational and uplifting to boot.

20. Sleep Tight (Spain)
Synopsis: An embittered concierge at a Barcelona apartment building plots to make one happy-go-lucky resident completely miserable in this psychological thriller from [REC] and [REC 2] co-screenwriter/co-director Jaume Balaguero.

I feel pretty confident that this is going to be a reliable, solid slice of horror. It looks like the kind of low-key, suspense ratcheting creepfest that focuses on its antagonist over other characters. And Spanish directors certainly know how to deliver the scares: The Orphanage, The Devil’s Backbone, REC, The Others and last year’s The Last Circus to name a few obvious examples.

19. V/H/S (seen)
Synopsis: When a group of misfits is hired by an unknown third party to burglarize a desolate house and acquire a rare VHS tape, they discover more found footage than they bargained for.

I’ve already seen this one but this is where it would have been placed. Horror anthologies are always worth a watch and these directors take the stylistic experimentation that videotapes inherently offer, with its glitchy worn-down visuals and static white noise, and channel it through the possibilities of the genre. That alone makes this worth watching. For all the mediocrity of the stories themselves and the fevered gender-based discussion it has incited, V/H/S has a DIY aesthetic that makes its mark.

18. Keep the Lights On
Synopsis: In Manhattan, filmmaker Erik bonds with closeted lawyer Paul after a fling. As their relationship becomes one fueled by highs, lows, and dysfunctional patterns, Erik struggles to negotiate his own boundaries while being true to himself.

This looks emotional and moving with strong lead performances. It has been impressing audiences since Sundance.

17. Bachelorette (seen)
Synopsis: Three friends are asked to be bridesmaids at a wedding of a woman they used to ridicule back in high school.

Another film on the list I have already seen, this is where Leslye Headland’s self-adapted mean streak of a comedy would have been placed.

16. Sinister
Synopsis: Found footage helps a true-crime novelist realize how and why a family was murdered in his new home, though his discoveries put his entire family in the path of a supernatural entity.

Since premiering at SXSW in March, I have heard nothing but good things about this one. Good horror films that get wide releases are far and few between, but this looks like it will garner Insidious levels of attention with the buzz I’ve been hearing.

15. Silver Linings Playbook
Synopsis: After a stint in a mental institution, former teacher Pat Solitano moves back in with his parents and tries to reconcile with his ex-wife. Things get more challenging when Pat meets Tiffany, a mysterious girl with problems of her own.

Winning the Audience Award at Toronto today is a huge signifier as to how this film will be received. The trailer didn’t do much to impress, looking too by-the-book with empty quirk thrown in. But all signs point to David O. Russell having a huge hit on his hands post-The Fighter. Russell is one of my favorite directors working today so I cannot wait to see him working in the comedic realm again.

14. Girl Model
Synopsis: A documentary on the modeling industry’s ‘supply chain’ between Siberia, Japan, and the U.S., told through the experiences of the scouts, agencies, and a 13-year-old model.

The second of two documentaries on this list, Girl Model looks like a chilling and illuminating look at the international modeling industry.

13. Seven Psychopaths
Synopsis:
A struggling screenwriter inadvertently becomes entangled in the Los Angeles criminal underworld after his oddball friends kidnap a gangster’s beloved Shih Tzu.

Martin McDonagh’s follow-up to In Bruges reunites him with Colin Farrell as well as Christopher Walken and Sam Rockwell, both of whom starred in his play “A Beheading in Spokane”. McDonagh a master of the kind of dialogue that knows it’s clever, a Snatch-like trait that I usually veer towards not liking. Somehow he pulls this style off with aplomb and if it’s anywhere near as good as In Bruges, we are in for a treat. Oh, and Tom Waits people. Tom. Waits.

12. Wreck-It-Ralph
Summary: A video game villain wants to be a hero and sets out to fulfill his dream, but his quest brings havoc to the whole arcade where he lives.

This is the only children’s film I really can’t wait to see this Fall. The trailer had me full-on cracking up in a way no trailer has in ages and it has got a golden goose of a high concept. Add in the voice work of John C. Reilly at the helm and the smorgasbord of video game references and this looks like a guaranteed winner.

11. Looper
Synopsis: In 2072, when the mob wants to get rid of someone, the target is sent 30 years into the past, where a hired gun awaits. Someone like Joe, who one day learns the mob wants to ‘close the loop’ by transporting back Joe’s future self.

A brainy sci-fi headed by Rian Johnson? The amount of hype going into this one is considerable, but it looks like it will live up to expectations. I’m a huge fan of Brick and Johnson has directed two of the best “Breaking Bad” episodes in existence (“Fly” and “Fifty-One” respectively). So to see him get the opportunity to headline a considerably mounted genre film with its own world and rules is sure to impress. It is already well on its way to its own spot in the pantheon of great sci-fi flicks.

10. Wuthering Heights (Seen)
Synopsis: A poor boy of unknown origins is rescued from poverty and taken in by the Earnshaw family where he develops an intense relationship with his young foster sister, Cathy. Based on the classic novel by Emily Bronte.

I got the opportunity to see this at the Independent Film Festival of Boston and this is where Andrea Arnold’s adaptation would have been placed had I not seen it. It would have been one of my favorite 2012 films had the last hour not been entirely unbearable. Here is my review: https://cinenthusiast.wordpress.com/2012/05/01/review-wuthering-heights-2012-arnold-iffboston-2012/

9. Django Unchained
Synopsis: With the help of his mentor, a slave-turned-bounty hunter sets out to rescue his wife from a brutal Mississippi plantation owner.

I realize that it looks like Quentin Tarantino’s latest gets a pretty low spot. Surely this is Top 5 material, right? Well, while I’m sure this is going to be fantastic, I’m also feeling ready for the director to do something else besides revenge across different genres. But this promises memorable characters, references galore and the type of crackling two-person dialogue scenes we love from him. I think I’m most interested to see how Leonardo DiCaprio fares in one of the auteur’s films and as a villain at that. It’s a much-needed and refreshing step out of his comfort zone.

8. Perks of Being a Wallflower
Synopsis: An introvert freshman is taken under the wings of two seniors who welcome him to the real world.

I’ve had high hopes, really high hopes for this, for a long long time. A lot of us have been waiting forever to see if Stephen Chbosky seminal coming-of-age novel was ever going to be adapted, and lo and behold, the day is almost upon us. It has a remarkable trio of actors in the lead roles. I am particularly amped for Ezra Miller, who quickly climbed his way onto my list of favorite young actors. There hasn’t been a memorable high school flick in a while. And this soundtrack, which takes from the book, is to die for. To. Die. For. The fact that Galaxie 500’s “Tugboat” is going to be in this film is a fact that single-handedly earns ‘Perks’ a spot on the list.

7. A Royal Affair (Denmark)
Synopsis: A young queen, who is married to an insane king, falls secretly in love with her physician – and together they start a revolution that changes a nation forever.

This is shaping up to be a great year for Danish actor Mads Mikkelsen. He won Best Actor at Cannes for The Hunt (which will hopefully get a Spring release for 2013), he is set to star in a TV series as Hannibal Lecter and he received excellent notices in the very well-received historical drama A Royal Affair. This looks like an intriguing much better-than-average historical drama that is right up my alley. It also stars Alicia Vikander, a young actress to watch out for who also will appear in Anna Karenina.

6. Rust and Bone (France)
Synopsis: Put in charge of his young son, Ali leaves Belgium for Antibes to live with his sister and her husband as a family. Ali’s bond with Stephanie, a killer whale trainer, grows deeper after Stephanie suffers a horrible accident.

This being the latest from Jacques Audiard (A Prophet and Read My Lips) with a reportedly stellar lead performance by Marion Cotillard gives this a very high anticipatory spot. Cotillard has been relegated to pretty thankless roles since catapulting to the Hollywood A-List. It’ll be nice to see her in a meaty lead once again.

5. Holy Motors (France)
Synopsis: From dawn to dusk, a few hours in the life of Monsieur Oscar, a shadowy character who journeys from one life to the next. He is, in turn, captain of industry, assassin, beggar, monster, family man…

All I heard during this year’s Cannes coverage was Holy Motors, Holy Motors, Holy Motors (well, that and a certain other film to appear on this list shortly). By all accounts, this is a surreal whackadoo head trip in the best way possible. It seems well on its way to earning a cult status and I intend on checking it out the moment it comes near me.

4. Cloud Atlas
Synopsis: An exploration of how the actions of individual lives impact one another in the past, present and future, as one soul is shaped from a killer into a hero, and an act of kindness ripples across centuries to inspire a revolution.

What will likely be the most divisive film to come out this season, I for one am counting down the days until this film gets released. The 6-minute trailer is a thing of beauty, bringing tears to my hypersensitive eyes. We can attribute a lot of this to the inspired use of M83’s brilliant “Outro”.  And I am over halfway through David Mitchell’s novel as we speak.

The way I see it, whether the film turns out to be a disaster or a triumph (or both at the same time), these filmmakers are going for it. The Wackowski’s and Tom Tykwer have together tackled what is widely thought to be an unadaptable novel (more so than most novels given the unadaptable label). It’s weaving six stories in one film, all in different time periods, with the same actors with the tired old theme of interconnectedness. No matter what the outcome, the film will be discussed for years to come. Without having seen it and going on gut instinct, it feels like the type of film that will possibly be reassessed for the positive as decades pass. As you can see, I’m preparing myself for the bashing to come. I can already see that Cloud Atlas is going to bring out the worst in the blogosphere, Prometheus-style. But no matter what the outcome, this is going to be an ambitious, epic and challenging work that nobody can fully write off. It may end up becoming a flop, but it sure as hell will go down swinging.

Ridiculous Bonus: Bae Doona, one of my very favorite actresses working today is going to get some serious international exposure here as Sonmi-451.

3. Amour (Austria)
Synopsis: Georges and Anne are in their eighties. They are cultivated, retired music teachers. Their daughter, who is also a musician, lives abroad with her family. One day, Anne has an attack. The couple’s bond of love is severely tested.

New Micheal Haneke. That not enough for you? It won the Palme D’Or. That still not enough for you? Haneke regular, and my favorite actress, Isabelle Huppert appears. Want more? This is Haneke doing a tearjerker about the elderly with two lead performances that supposedly devastate. My common sense tells me that Amour is going to stomp out my soul. Part of me has been mentally preparing myself for this film since this year’s Cannes.

2. Anna Karenina
Synopsis: Set in late-19th-century Russia high-society, the aristocrat Anna Karenina enters into a life-changing affair with the affluent Count Vronsky.

Another film that is sure to divide. Joe Wright’s decision to set the Tolstoy adaptation on a stage and to use theatrical stylization is sure to distract some. But frankly, if all we are left with are the visuals evident in the trailer, this will still likely land a spot on my favorites for the year. The costumes, production design and overall look of the trailer is sickening. Joe Wright is one of my favorite directors working today. He pushes himself into challenging and creative directions that breathe new life into familiar tales. Wright reteaming with Keira Knightley, surely one of modern cinema’s most rewarding director/star collaborations, is always thrilling. The way his camera illuminates this woman (who is already stunning to begin with) is beyond my ability to comprehend. We’ve got a screenplay by the great Tom Stoppard, cinematography by the great Seamus McGarvey, music by the great Dario Marianelli and costume design by the great Jacqueline Durran. So basically what it comes down to is that lots of great people are involved in this. I plan on reading this monster of a novel before the film comes out. Now that’s anticipation for you.

1. The Master
Synopsis: A Naval veteran arrives home from war unsettled and uncertain of his future – until he is tantalized by The Cause and its charismatic leader.

I honestly feel like I don’t even need to put reasons here. It’s at the top of everyone’s list. Paul Thomas Anderson is my favorite working director. It’s been 5 years since his last film. This was very close to not getting financed. It’s a near miracle we even get to see this. His films engage me more than any other director. They make me feel things that are unrepeatable, unfamiliar and challenging. His films are dense, complex, elusive, pretentious and indefinably uncomfortable.  I live for his films. And on Friday I will finally be seeing his latest in 70mm. Oh, and welcome back to Joaquin Phoenix. It’s been too long. And if the trailers are any indication, this performance is one for the books.

Screening Log: October 16th-October 31st


304. The Vanishing (1988, Sluizer): A-/B+

305. Day of the Dead (1985, Romero): B


306. Dressed to Kill (1980, De Palma): C+


307. Funny Games (1997, Haneke): B


308. The Company of Wolves (1984, Jordan): B+/B


309. Alice, Sweet Alice (1976, Sole): A-/B+


310. Mask of Fu Manchu (1932, Brabin): C-


311. The Woman (2011, McKee): C


312. Doctor X (1932, Curtiz): C+


313. Take Shelter (2011, Nichols): A


314. The Last Circus (2011, de la Iglesia): A-/B+


315. Svengali (1931, Mayo): B-


316. The Bird with the Crystal Plumage (1970, Argento): B


317. Broken Embraces (2009, Almodovar): C+/C


318. The Skin I Live In (2011, Almodovar): B-


319. Ringu (1998, Nakata): B+/B

 

 

 

Wish List: 15 Dream Director/Actor Collaborations


Do you ever think about which actor and director pairings would get you the most psyched? You wake up and go online to read confirmation that so-and-so signed on to star in so-and-so’s next production and you find yourself eagerly anticipating it more than most other projects solely because of the pairing? Well, here is a list of collaborations I would love to happen. These are not the pairings I want more than any other. Honestly, with all the actors and directors out there, grouping certain people above all others as definitive perfection is a little foolish. I am sure someone else could come up with a list like this and I would be just as excited about their picks. Hence the list being unordered. I would really love to hear what your dream collaborations would be. Be sure to comment and list some of yours!

Fatih Akin and Franka Potente – Sibel Kekilli’s role in 2004’s Head-On is my reference point for this. While Akin’s last film was the mediocre comedy Soul Kitchen, his Head-On and The Edge of Heaven are very heavy dramas that demand equally intense performances from all involved. Seeing Potente take on material involving his trademark exploration into German-Turkish relations would be so undoubtedly rewarding.

Woody Allen and Tom Hollander – Tom Hollander has been one of my favorite actors for several years now, and he got to show his comedic chops in 2009’s brilliant political satire In the Loop. Allen’s recent globe-trotting tendencies make it somewhat common for British actors to pop up in his films as of late. Hollander would fit in perfectly in a strong supporting role as part of an ensemble in an Allen film. He excels at villainous roles (Pirates of the Carribean 2 & 3, Hanna), but I hope he gets more opportunities to be as funny as he is in In the Loop. “A walrus? I’m not fat, I don’t even have a moustache. Fuck, they’ve given me tusks.”

Bong Joon-ho and Lee Byung-hun – This one is honestly bound to happen at some point. Lee is a superstar and Bong represents economic prosperity for South Korea’s film industry. It is just a matter of time. The reason this pairing would be exciting is because of what Bong could bring out of Lee. Lee is a fantastic actor and he has a strong ‘soap opera’ acting ability that works so well for him. Bong’s films are known for being so tonally distinct, often switching moods within the same scene or balancing many different varied genres at the same time. I have said it so many times, but again, he does something with his films that nobody else in cinema does. Seeing Lee function within this atmosphere would surely bring something different out of him. The potential here is endless.

Jane Campion and Claire Danes – While I kind of wish this collaboration had taken place in the 90’s as opposed to now, this would still be a pairing I would kill to see. Danes is exceptionally talented and seeing her in a Campion period piece would be a refreshing role for the actress to take. Additionally, she would be up to the challenges demanded of a lead actress in a Campion film.

The Coen Brothers and Peter Dinklage – How has this not happened yet? I kept having to double check and make sure this collaboration has yet to occur. Yes, Dinklage has been on my mind and in my dreams quite a lot lately what with “Game of Thrones” and all. Dinklage is commonly placed in roles that showcase his epically sardonic line delivery. His performance in his debut film Living in Oblivion really exemplifies how well he can be used in a comedy. The kind of humor the Coens excel at would be perfectly matched with how Dinklage fits into his comedic roles. In short; this needs to happen.

Sofia Coppola and Mia Wasikowska – It is not hard to see why I think this pairing would work. I am thinking mainly of the pose-heavy way Coppola frames and shoots her characters and how naturally Wasikowska would fit into the look of her films. My shallow reasoning is that the woman shoots beautiful people prettily. Pretty, pretty, pretty like a painting. While I want her to eventually focus on older actors (her work with Bill Murray is the best work she has gotten from anyone), for now, if this happened, I would be ecstatic.

David Cronenberg and Johnny Depp – Oh Johnny. My feelings about Depp have been a rocky roller coaster of the years. The man is a great actor, but the only performance of his I got excited about over the last decade is his Sweeney Todd. Cronenberg is at a place in his career where his films are rooted in harsh realism, largely leaving his mind-fuck days of body horror behind. Depp would do nicely in both eras of the director’s work. Cronenberg’s films fully maintain that edge and fascination with human psychology and I would love to see Depp in the kind of roles that Viggo Mortensen gets from his memorable collaborations with the director.

Michael Haneke and Tilda Swinton – This one is so obvious, it barely needs explanation. Haneke’s cold and distant works have gotten brilliant work out of actress powerhouses Juliette Binoche and Isabelle Huppert. Swinton would be a natural fit within a Haneke work as she is capable of performing the hell out of any role as well as her ability to exude the trademark Haneke coldness to a tee.

Lee Chang-dong and Bae Doona – Lee’s films deal with some ugly situations presented in a natural and honest light. His characters go on an extended journey, for better or worse, and he asks a lot from his performers. Jeon Do-yeon was justifiably praised for her exhausting performance in Secret Sunshine, and for not wearing any makeup in the film, which is a bigger deal than it is here in the States (most South Korean actresses are not likely to take a role with this requirement). Bae Doona, my favorite South Korean actress, has an inherent willingness to take the kind of stripped down roles others might be hesitant to. Her presence and talent in a Lee Chang-dong film would be a dream of mine.

Terrence Malick and John Hawkes – Malick’s obsession with nature and that earthy quality of Hawkes would be a perfect fit. Can’t you just see Hawkes taking on some of that heavy ‘why are we here?’ voiceover? It is really hard to expand on this one; it is the first one that came to my head when brainstorming for this list. It just feels right.

Christopher Nolan and Will Smith – When Smith almost signed on for Django Unchained, I found myself a lot more excited than I expected to be. Then that fell through. Smith always takes huge projects, and while he exacts a Nazi-like control over every aspect of the films he appears in, I still like the actor. While characters might not be Nolan’s strong point as a writer/director, seeing Smith in a big-budget Nolan flick would likely give Smith a chance to really shine in a project that would give him a chance to make the most of some strong material a la I Am Legend.

Alexander Payne and Leonardo DiCaprio – DiCaprio is the rare actor who has never taken a comedic role. Ever. Not even a remotely comedic one. The more serious the material, the more drawn to it he is. Which is fine; the man has given some incredible performances and I always look forward to seeing him on screen. Yet at this point, I am yearning for him to do something different. His upcoming role in the new Tarantino is exactly the kind of project I am intrigued to see him in (is that officially happening? I’m cautious about believing casting announcements these days). He would be pushing himself in a different way. Will we buy him as a villain? I wonder. But I am ecstatic to see him try. While I want to see DiCaprio in a comedy (seriously…how surreal would that be at this point?), even seeing him try a dramedy would be radically different and even jarring. The kinds of films Payne makes are the exact kind of project I want DiCaprio to align himself with, as his upcoming The Descendants illustrates.

Todd Solondz and Ben Stiller – I am a Ben Stiller fan despite his love for big paydays over meaningful projects. Looking at his writer/director projects, it is obvious that he is drawn to darkly comic material. Some of the stuff on “The Ben Stiller Show” and in addition, The Cable Guy and Tropic Thunder, go to some pretty dark places. Solondz’s desire to sincerely explore the dark side of humanity in a very matter-of-fact way somehow materializes itself as black comedy. Given the chance for a role in a Solondz film, I am overly confident that Stiller would absolutely shine.

Quentin Tarantino and Choi Min-sik – The director is arguably more influenced (and takes the most from) by Asian cinema than anything else. Yes, I am lumping together many different national cinemas there, but the point remains. With Kill Bill Volume 1, he created Go-Go Yubari specifically for Chiaki Kuriyama, and she remains among my very favorite characters in any film. I hope he can create other roles for Asian actors that he admires and/or idolizes from time to time, and Choi Min-sik would be my first pick. The man can play any type of role thrown at him and Tarantino’s obsession with Oldboy, and very likely other Choi performances, would make him a perfect candidate for a specially created character by the filmmaker.

Lars von Trier and Winona Ryder – Quite honestly, this is the kind of role Ryder needs right now, if she can get it. Something tells me she would be drawn to being Trier’s emotionally drained puppet and for someone trying to get her career back, she needs a game-changing project to push her into difficult places. I am sure kissing Channing Tatum is nice, but The Dilemma ain’t gonna cut it. In the end, neither are bit parts in Star Trek and Black Swan, although it’s a start. Ryder is an actress that has been a consistent presence in my life whose earlier performances will remain with me. I am seriously rooting for this woman, (for a 5th grade biographical project, others picked to write about Lincoln and Washington; I picked Ryder) and von Trier is the kind of director I want her to get a project with.

Weekly Screening Log: April 14th-21st


I am going to start posting grades for my weekly screening posts. They are meant somewhat arbitrarily and not as a declaration of worth. It is mainly to keep track of my general initial response to the films I see. Once school gets out, I plan on keeping up with my one paragraph summations.


134. Day for Night (1973, Truffaut): A

135. Topsy-Turvy (1999, Leigh): A-


136. Time of the Wolf (2003, Haneke): C


137. The Girl who Leapt Through Time (2006, Hosoda): A

138. Jacob’s Ladder (1990, Lyne): B+